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Daniel Monaco Band is an international group led by Italian bassist Daniele Labbate. Blending jazz, funk, house and disco with live energy, their debut EP ‘Get Naked and Fly’ captures years of collaboration and experimentation. The result is a warm, analog-driven sound crafted by seasoned session musicians who’ve toured the world and are now channeling their creativity into original music as a group.

Lead track ‘Love Ago’ delivers modern disco with the authenticity of the golden era, ‘Mimouna’ has a psychedelic edge, with the WHODAMMANY remix taking the original into a more electronic direction. ‘The Devil Left Dancing’ takes a subtly off centre path, nodding to Brazilian influences, while the title track ‘Get Naked and Fly’ is raw and instinctive blending live instrumentation with electronic sensibilities.

The project is a testament to what happens when musicians trust each other enough to explore freely without chasing perfection. A live band speaking house, funk and jazz with one voice — analogue, soulful, and free.

Personnel : Percussion by Yannick Van Ter Beek, Drums by Robin van Rijn, Sax by Alessandro Russo, Guitar by Simone Cesarini and Bass by Daniele Labbate.

Designed by Bradley Pinkerton.

If there is one person, who has been causing a stir on the international club circuit recently, it is Barcelona's John Talabot. Already his debut “My Old School“ (which is meant literally by the way) on Permanent Vacation in 2009 and shortly after that the single “ Sunshine”, which he put out on his own Hivern Disc imprint, made him one of the most promising musicians of the Spanish electronic scene. And those two releases also already set the mark for John Talabot’s unparalleled music: raw, loopy, heavy on the kick drum, sample based, moderate on the tempo, distorted on the drums and light years away from the clean and ever revolving house sound of today. This unique style which also blends influences from afro beat, Detroit techno, Chicago house and cosmic disco, but also northern soul or the energy of Flamenco, immediately turned some heads around. James Murphy, Âme and Aeroplane started including Talabot music in their sets like it was the most natural thing. However - and this is quite rare - he not only gained legions of fans in the house and disco community, but also amongst the leftfield pop and indie rock followers. NME and Resident Advisor both had “Breakthrough“ features on John Talabot and he can be proud of a “Best New Music“ dubbing on
Pitchfork. (Being rather elusive on showing his face in magazines or the web it also came to some funny rumors that John Talabot was the alter ego of a well-known techno producer from Detroit).
At the same time he drew the attention of like-minded artists like James Holden and Luke Abott from Border Community, Blondes or Delorean, which lead to a bunch of fertile collaborations: Luke Abbott and Blondes remixed Talabot’s “Sunshine“ single , John Talabot remixed a track by Delorean and vice versa Delorean’s Ekhi contributed vocals to the track “Journeys “ on John’s album). Another example is the Young Turks Label (home of Jamie XX, Holy Fuck, El Guincho or SBTRKT ) on which he released the “Families“ EP in 2010. It was praised beyond limits. Pitchfork for
instance hailed: “… where pop and house influences sweetly buffer up against one another to provide an unyielding sense of elation“ and even brought Talabot a comparison with artists like Four Tet or Caribou.
While staying true to his sound, John Talabot has nevertheless shown a constant evolution as a producer since his first release. He has traced a solid musical path that has turned him into one of the big references of European House and has made him also a highly in demand Remixer (for the likes of The XX, Francesco Tristano’s “Aufgang” project, Shit Robot on DFA, Thaiti 80, Joakim or Teengirl Fantasy to name just a few ).
A progression that now crystallizes in “ƒin”, his first full-length album for Permanent Vacation. A record, in which the Barcelona mastermind sets aside the danceable immediacy to expand his stylistic palette more than ever. For that purpose, Talabot melts all the elements that have constructed his distinctive sound until now and makes them emerge from a new perspective, in which the construction of complex song structures, intricate rhythms and superpositions of ever-evolving melodies and atmospheres pick up the baton of the “a kick-drum and a sampler” philosophy of his initial productions. The result brings us 11 tracks (we should call them songs really!) dominated by dark ambiances, gaseous textures and bittersweet moods that, above all, reveal a kind of vivacity that’s really hard to find in contemporary electronics. “Fin” is far from being a track collection. From the majestic opener “Depak Ine“ to it’s solemn ending with
“So Will Be Now“ , one of the two tracks that features Talabot’s soul and label mate Pional, each song traces an overall dialogue with the rest, culminating a highly emotional journey through Talabot’s always compelling and unique musical vision.

»Downriver« unfolds like a dérive through obscured geographies, echoing the psychogeographic journeys of Iain Sinclair. Just as Sinclair’s writing blurs the tangible and the imagined, Sequences, the project of Antwerp-based artist Niels Geybels, drifts into spaces where memory and environment overlap. Single-take recordings stretch into slowly mutating drones, fractured textures, and ghostlike voices that seem to seep in from unseen thresholds. The atmosphere is one of decayed grandeur, evoking disused monuments, neglected warehouses, and corners of the landscape where centuries of history accumulate beneath the surface.

This is music shaped by wandering without a map: a patchwork of distortion, hidden detail, and abrupt rupture. The sense of time loosens, the everyday unravels, and new contours emerge out of drift and delay. Downriver situates itself between sound art and environmental music, drawing listeners into liminal zones where place becomes porous, haunted by what has been and what might yet be.

Written and recorded by Niels Geybels Mastered by Jacob Calland

Following the vinyl release of Delfonic's reworks of Roy Ayers tracks taken from the BBE Music compilation Roy Ayers-Virgin Ubiquity, it's now Osunlade's turn to add his production and remix enchantment to the music of the master craftsman with these remixes of Brand New Feeling. Featuring the exceptional vocal talents of Merry Clayton, perhaps best known for her blistering performance on the Rolling Stones' Gimme Shelter and her own Webster Lewis penned hit Emotion, alongside Jazz vocalist and Earth, Wind & Fire, Ubiquity and Harvey Mason collaborator Silvia Cox, Osunlade's Yoruba Soul remixes have added new dimensions to this track. Hailing from St Louis, USA Osunlade's CV includes writing music for Sesame Street to working with and producing artists as varied as Patti Labelle, Freddie Jackson, Eric Benet, Martha Wash, Salif Keita, Nadirah Shakoor and Cesaria Evora. He started the Yoruba Soul project and label after his move to New York because of 'the continued need to create the music I wanted' and it is this musical freedom that has made him one of the most distinctive music makers, producers, DJs and remixers around today. Brand New Feeling is released as a vinyl EP featuring two tracks, the Yoruba Soul Mix Parts 1 & 2.

Teresa Rotschopf, a musician and composer from Vienna, presents her second solo album, »Currents and Orders« – a radical, delicate, yet grandiose sonic journey between experimental pop, new music, and improvised composition. The album will be presented live on August 27 as part of the »Pop-Kultur« festival (silent green, Berlin) and at the »ORF RadioKulturhaus« (Vienna) on 12 September.

»Currents and Orders« was recorded in an unusual location: a stalactite cave in Styria, Austria. Together with a small group of musicians (Maria Gstättner: bassoon, contraforte; Alex Kranabetter: tuba, trumpet, French horn; Patrick Dunst: saxophone, duduk; Florian Klinger: marimba, vibraphone, glockenspiel, cymbals, gong, stalactite; Patrick Pulsinger: gong, stalactite; Ulrich Schleicher: gong) and in co-production with Patrick Pulsinger, Rotschopf recorded the album in June 2023 – deep underground, far from daylight, but all the closer to archaic sounds and resonances.

The cave becomes not only an acoustic stage, but also a symbolic space of memory, retreat, and transformation. The album comprises four pieces – including two large-scale tracks:
- the opening, mantra-like title track »Currents and Orders« (over 10 minutes)
- the final, free-jazz, expressive »I Open My Gates (for You)« (over 20 minutes)

With a minimalist structure, choral voices, vibraphone, percussion, and wind instruments, fragile yet powerful soundscapes emerge, whose spatial depth is also palpable through the cave reverberation.

Rotschopf first developed the desire to record in a cave in the summer of 2022. What began as a visual and sonic image became a concrete project – supported by the Austrian Cave Association. In June 2023, Rotschopf and her musicians spent three days in a cave in the Styrian forest. Almost a kilometer of cable was laid, and equipment and instruments were carried deep underground. Rotschopf describes the recording situation as a kind of return to herself: »I descended into this cave, as if I could descend into myself, into my own womb ... What we did in the cave could just as easily be called ›recording music,‹ but it could also be called ›remembering‹ – remembering the earth, the cave, and humanity.«

»Currents and Orders« is an album like a ritual: haunting, atmospheric, bold in its form, and deeply rooted in both physical and emotional space. Music that takes its time, uses space, and pushes boundaries.

The pre-release single »O Please My Soul (Rest On My Back)« (release: July 17, 2025) is accompanied by a striking music video shot by Antoinette Zwirchmayr on 16mm film: Teresa Rotschopf holds a real owl in her hand – an image that is as magical as it is enigmatic.

Label owner Martin Hossbach read a review of Rotschopf's first solo album, »Messiah,« in 2018 and contacted the artist. Joint releases followed, including a drone album on the sub-label Martin Hossbach Score and a Pet Shop Boys cover version on Martin Hossbach Cover.

Teresa Rotschopf, Musikerin und Komponistin aus Wien, präsentiert mit »Currents and Orders« ihr zweites Soloalbum – eine radikale, zarte und zugleich groß angelegte Klangreise zwischen experimentellem Pop, Neuer Musik und improvisierter Komposition. Das Album wird am 27.8. im Rahmen des Festivals »Pop-Kultur« (silent green, Berlin) und am 12.9. im »ORF RadioKulturhaus« (Wien) live vorgestellt.

»Currents and Orders« entstand an einem ungewöhnlichen Ort: in einer Tropfsteinhöhle in der Steiermark, Österreich. Gemeinsam mit einer kleinen Gruppe von Musiker:innen (Maria Gstättner: Fagott, Kontraforte; Alex Kranabetter: Tuba, Trompete, Waldhorn; Patrick Dunst: Saxophon, Duduk; Florian Klinger: Marimbaphon, Vibraphon, Glockenspiel, Becken, Gong, Stalakmit; Patrick Pulsinger: Gong, Stalakmit; Ulrich Schleicher: Gong) und in Ko-Produktion mit Patrick Pulsinger nahm Rotschopf das Album im Juni 2023 auf – tief unter der Erde, fern von Tageslicht, dafür umso näher an archaischen Klängen und Resonanzen.

Die Höhle wird nicht nur zur akustischen Bühne, sondern auch zum symbolischen Raum der Erinnerung, des Rückzugs, der Transformation. So umfasst das Album vier Stücke – darunter zwei großformatige Tracks: - das eröffnende mantraartige Titelstück »Currents and Orders« (über 10 Minuten) - das finale, free-jazzig-expressive »I Open My Gates (For You)« (über 20 Minuten)

Mit minimalistischer Struktur, Chorstimmen, Vibraphon, Schlag- und Blasinstrumenten entstehen fragile und zugleich mächtige Klangwelten, deren räumliche Tiefe auch durch den Höhlenhall spürbar wird.

Der Wunsch, in einer Höhle aufzunehmen, kam Rotschopf im Sommer 2022. Was als visuelles und klangliches Bild begann, wurde zu einem konkreten Vorhaben – unterstützt vom Österreichischen Höhlenverein. Im Juni 2023 begab sich Rotschopf mit ihren Musiker:innen drei Tage lang in eine Höhle im steirischen Wald. Fast ein Kilometer Kabel wurde verlegt, Equipment und Instrumente tief unter die Erde getragen. Rotschopf beschreibt die Aufnahmesituation als eine Art Rückkehr in sich selbst: »Ich stieg in diese Höhle hinab, so als ob ich in mich selbst hinabsteigen könnte, in meinen eigenen Schoß [...] Was wir in der Höhle taten, könnte man ›Musik aufnehmen‹ nennen, genauso gut aber auch ›Erinnern‹ – Erinnern von Erde, Höhle und Menschsein.«

Currents and Orders ist ein Album wie ein Ritual: eindringlich, atmosphärisch, mutig in der Form und tief verwurzelt im physischen wie emotionalen Raum. Musik, die sich Zeit nimmt, Raum nutzt und Grenzen sprengt.

Die Vorab-Single »O Please My Soul (Rest On My Back)« (VÖ: 17.7.205) wird begleitet von einem eindrücklichen Musikvideo, das Antoinette Zwirchmayr auf 16mm-Film drehte: Teresa Rotschopf hält darin eine echte Eule auf ihrer Hand – ein Bild, das genauso magisch wie rätselhaft wirkt.

Labelbetreiber Martin Hossbach las im Jahr 2018 eine Rezension des ersten Rotschopf-Soloalbums »Messiah« und nahm Kontakt zu der Künstlerin auf. Es folgten gemeinsame Veröffentlichungen – etwa ein Drone-Album auf dem Sub-Label Martin Hossbach Score und eine Pet-Shop-Boys-Coverversion auf Martin Hossbach Cover.

2025 Repress

After a short hiatus Deep In Dis intl. is back in the game. This time bringing you a split EP by two young prolific producers who have been in our radar for quite sometime now, Eric OS and Lewis. With both artists being based in Sweden and each one of them with a characteristic sound, we thought it would be a good idea to split our next release between these two cutting edge talents and that's how the Timebomb EP came to life.

We first discovered Eric tunes through a Binh set last year at the Nostromo Festival and we instantly knew we had to get Eric on board for a future project with us and here we are. With releases on System Error, Eya Records and his own imprint Space Trace, Eric brings to the table all those elements that made us get up off the back stage sofa and lose it on the floor. Flipping the record we have the Data Flow head label Lewis bringing us another two special club cuts. Having released a digital EP with us before, we couldn't wait to press some of Lewis analog soundscapes.

A1. 'Eden' is a true dance floor filler , endless groove and quirky sounds penetrating your brain while taking you in a break with some dreamy pads and even stranger synth lines. A2. 'Timebomb' keeps the vibe going, even higher this time. The formula seems to be timeless. Progry melodies, wonky bassline, and solid drum patterns.B1. 'Project Mayhem' invites us to close our eyes and travel without moving with its hypnotic groove, the feeling of pleasure, energy and empathy increases and floats the dancefloor in a never ending way. Closing the EP 'Acid44' spills a lysergic groove on the floor with no possibility of escape or return. Infected synth lines, snappy snares and some serious bassline are the powerful potion of the track.

Neo funk rising star Buscrates aims high with Blasting Off, his first full-length album. The Pittsburgh-based keyboard cosmonaut has been grabbing ears since his days hooking up beats with the hip hop crew East Liberty Quarters, but after slinging spicy one-offs to a slew of hot labels like Omega Supreme, Voyage Funktastique and Razor N Tape (as well as contributing production to Wiz Khalifa and Curren$y's 2009 project), the time has come for a full-length featuring his growing modern funk repertoire.

"I'm a '90s hip hop dude, but I grew up on that '80s funk stuff," Buscrates acknowledges. DJ gigs provided a working knowledge of the jams that moved a contemporary crowd, and as his collection of keyboards and drum machines grew he began blending the best of both decades with his personal futuristic edge. "I was nice on the MPC but I wanted to have a little more dynamic range with what I was doing," he notes. The self-described "certified synth geek" was soon branching into sounds that recalled '80s legend Kashif crossed with the hip hop bounce of DJ Spinna, and the modern funk community took notice.

For his first full-length, Buscrates has crewed up with an ace team of collaborators, featuring vocalist Sally Green on the bouncy lead single "Lost And Found" and "Eight Nine." Kate Moe Dee takes over mic duties for the second single, "How Ya Gonna Do It," a slinky groove that slides in place alongside groups like the Sunburst Band and Rene & Angela as an exemplar of sophisticated R&B. Adding to those credentials are the sultry vocals of Anda on "Believe," but of course, it wouldn't be a Buscrates set without some stank, neck-snapping instrumentals. "Five Days" and "Sure Shot," both collabos with the drum technician DJ Epik, will rattle speakers and have already been lighting up message boards on recent Buscrates DJ sets. Round things out with some easy gliding, jazzy funk ("Turn It Out" with Brothermartino on flute and "Evergreen" featuring Tony Ozier) and you've got all the ingredients for a high-flying cosmic ride with Buscrates at the controls.

The formative years of Hunter Thompson’s music as Akasha System were seeded and shaped by the shrouded meadows and wet woodlands of the Pacific Northwest: Sea Glass, Shadow Self, Echo Earth, Geomind. But pandemic flux flipped the script, prompting a migration to the monsoon tropics of Tampa. Heliocene ushers in a fresh chapter in the Akashic record, recasting the project’s precision synergy of cellular melody, holographic pads, spiral tribalism, and eco-futurist swing for a new solar age.

The album’s eight songs were recorded across 2023 and 2024, inspired by explorations of the many sanctuaries hidden in Florida’s ragged paradise: singing towers, ancient grottoes, emerald lagoons. From vortex house (“Purity Vector,” “Sun Particle”) to mirage electronica (“Haunted Planet,” “Soma Totem”) to hand drum divination (“Terraform Dream”), the sides flow, glow, and gleam, dialed in but dreaming out, tracing radiant waves of the eternal now.

“This album is a meditation to experience where and when you are, fully and wholly, regardless of where the path leads.”

Maggot Mass, the fifth full-length album by Pharmakon on Sacred Bones Records, marks the project's return after a five-year hiatus. This album signifies a departure from the original rules and structures established by Margaret Chardiet for Pharmakon, evolving into a new form. It retains the project's experimental roots in power electronics and noise while incorporating industrial and punk influences. The album stems from a profound disgust with humanity's dysfunctional relationship with the environment and other life forms. It explores the loneliness resulting from this broken bond and challenges us to acknowledge our personal and systemic responsibility. What peace can we make with privilege when the true cost of our comfort is not measured in dollars but in death? How can we reconcile with death when we impose the same hierarchical structures on it that we do in life? Is life worth living in the isolation of this self-imposed species loneliness? Humans often measure worth by accumulation _ money, assets, objects _ mistaking this for power and influence. Western heritage dictates a hierarchy, placing humans at the top, separate from the natural world. This delusion turns bodies into objects, land into property, and people into expendable tools. If our value were instead determined by our contribution to the ecosystem, who could claim that a human is more valuable than a maggot? Maggots recycle death into life, breaking down matter and nourishing new growth. They transform into flies, pollinating plants and sustaining the Earth's flora. In contrast, humans pollute rather than pollinate, with a select few profiting from exploitation at the expense of biodiversity and the well-being of many. In grappling with grief and loss on both personal and global scales, Margaret sought solace in the idea of rebirth through death, celebrating the beauty of regeneration through decay. However, she had to confront the stark reality of the disconnection from the earth under oppressive systems. Pharmakon is here imagining a path where the final act is to give back what was received from creation, offering our lives and deaths to sustain existence. once I slough off this human skin I will find my home and ancestral kin_ in the coffin-birth of my cadaver's ecosystem

Hamburg-born composer, pianist and producer Niklas Paschburg announces his latest project, 'Mexican Alps' EP due for release on July 11th. 'La Hormiga' is a rhythmic exploration of life in motion. Pulsing beats and textured synths create forward momentum, echoing the journey through the winding paths of Oaxaca's mountainous surroundings, where tradition and nature intertwine. 'Mexican Alps' combines inspirations gathered from the picturesque mountains of southern Mexico and the majestic peaks of the Swiss Alps. The EP is a mesmerizing journey through those landscapes; drawing inspiration from nature's grandeur and the vibrancy of Día de los Muertos, Niklas blends electronic textures, atmospheric samples, and innovative instrumentation to create a soundscape that is both grounding and transcendent. Without relying on his signature piano, this EP explores new creative territories, evoking deep emotional resonance and moments of introspection. -- If his first album, 'Oceanic '(2018), was conceived as an ode to the Baltic Sea, for his next release, 'Svalbard' (2020), produced with Andy Barlow of Lamb, the Hamburg-born musician, now a Berliner by adoption, sought refuge on an island in the Arctic Ocean, surrounded by snow, ice, darkness and breathtaking landscapes. This time, however, the setting is completely different. "It all started with an invitation to play at a festival in Oaxaca," Niklas says. "Since I had never been to Latin America, I began considering how to take advantage of the opportunity to stay for a while and write something there. I started looking for houses, but I quickly realized it was almost impossible to find one with a piano—it's not a common instrument in Mexican culture. I thought, why not try immersing myself in a writing process that doesn't involve one? I was so excited about the idea that I jumped in." 'Mexican Alps' is the result of a challenge in which Paschburg harnessed his collection of synths and effects to create an ambient-electronic record. On the one hand, an evolution of the work primarily carried out in 'Svalbard' and 'Panta Rhei'; on the other hand, an episode in its own right, distinct from its predecessors due to the absence of the piano and the greater role played by improvisation, by coincidence, it became his first work created without his signature instrument. "Not having the opportunity to write chords, harmonies, and everything else on the piano, I improvised more, focusing on the sound. This was the approach I used to record demos in Mexico, which I then brought with me to Switzerland, where I carried on working on the EP. In addition to my usual setup (the OB-6 by Dave Smith and Tom Oberheim and the OP-1 by Teenage Engineering, plus my ever-beloved Hohner accordion, inherited from my grandfather), I was also guided by the purchase of a new Moog Matriarch with a unique delay. All this helped me build the sound I had in mind: a spacious, abstract, 3D sound that is definitely immersive." He expands. It is an emotional landscape that translates into music. In some of the tracks, Paschburg has also included field recordings collected during the Día de los Muertos, a deeply felt Mexican holiday: "A great celebration, a colorful parade of skeletons, skulls, flowers, and decorated altars, so engaging and intoxicating that I felt compelled to use its sounds in my music." It was precisely from this blend of influences that the fourth track, "Oaxaca de Juárez", emerged—a single characterized by a catchy funk procession and enhanced by the guitar work of Tal Arditi, a rising European jazz artist and singer-songwriter based between Basel and Berlin. 'Mexican Alps' is his new calling card, featuring an enveloping sound crafted by Paschburg in collaboration with Gijs van Klooster, who mixed the EP in a studio specifically designed for Atmos music. Mastering was handled by Bo Kondren at Calyx Studio in Berlin.

Artist, illustrator and bestselling author Matt Sewell is an avid ornithologist. He also plays the guitar in Sewell and the Gong, a music project with producer Chris Tate.

Their new album is a sonic journey into a whirling world of wild woods, dancing in the mud, late night pastoral adventures and some sort of 21st century hedonism connected to ancient rituals the mark the passing of seasons. It’s a glorious noise to get lost in.

Celebrated Blues artist Patrick Sweany returns with his much-anticipated new record Baby, It’s Late.

Utilizing ace players from two of his Nashville side-projects (the 50s/60s era Blues combo Tiger Beats, and the Soul/Funk quartet Super Felon), Baby, It's Late is a pastiche of Sweany's wide-ranging influences and history, incorporating Classic Rock, Soul, Country and, of course, a massive dose of vintage Blues.

Sweany produced the record himself - a first in his storied career.

For the first time ever, The Commi$$ioner Vol. 1 & 2 by Kool Keith lands on wax. A cult classic across underground hip-hop circles, these volumes capture Keith at his most raw and unfiltered. From cosmic rhymes to gritty boom-bap, it's a wild ride through the mind of rap’s most eccentric visionary.

Newly mastered for vinyl by Davide Bassi and featuring brand new cover artwork by Alejandro Torrecilla this is a true collector’s piece — vivid, strange, and unmistakably Keith. Originally CD-only, this long-overdue vinyl treatment is the format it always deserved — file under essential.

Vines, the solo project of New York-based multi-instrumentalist and composer Cassie Wieland, offers a window into her inner world through expansive swaths of sound. She pieces together a celestial mix of synths, percussion, strings, and vocoded voice, making music that is at once deeply personal and cinematic in scope. This diaristic approach first took shape with her 2023 EP Birthday Party, and is crystallized on her debut LP, I’ll be here. With the sweeping and vulnerable I’ll be here, Vines arrives fully formed as an artist who crafts deeply resonant and open music–the kind that invites listeners in to listen, reflect, and share in the journey of learning through living.

“It was through making music that I was able to meet myself,” Wieland said. “Anything I’m going through or feeling is something that somebody else out there can relate to, and that’s really special to me.”

I’ll be here is both a culmination of years spent creating gossamer soundscapes and an opening to a new journey for Wieland as an artist. The album grew out of her years as a composer and songwriter, and builds on the language she developed on Birthday Party, which transformed the tumultuous feelings of the passing of time into minimalist meditations. It was just a start, though–a prologue, a development of the kind of language and ideas she wanted to express. With I’ll be here, she digs deeper and writes music that feels more sprawling, further solidifying her singular voice.

Wieland’s musical composition process is similar to journaling, lending itself to the music’s honesty. When she writes, she makes room for all the ideas she has; in these sessions, there are no wrong ideas, and she allows the music to be attuned to the experiences she’s having at the time. With I’ll be here, Wieland zeroes in on themes of anxiety, loneliness, navigating human connection, and having to grow up from a young age, ultimately coming to a place of acceptance. And though it began as a journal written in solitude, her collaborators shape the music with her.

Working with friends, in fact, was a crucial part of bringing the record to life. “Everything that was supposed to happen came together so easily because of the people involved,” Wieland said. I’ll be here was co-produced and recorded with Wieland’s longtime collaborator Mike Tierney, a four time Grammy-nominated engineer who has worked with artists across the contemporary classical and experimental scene like minimalist pioneer Steve Reich, LA’s preeminent classical ensemble Wild Up, and various bands on Bang on a Can’s Cantaloupe Music label. Percussionist and composer Adam Holmes and violinist Adrianne Munden-Dixon are two other longtime collaborators who are frequent fixtures of her live show. Holmes plays synths, drums, and banjo; in live settings, his kit is loaded with elements of the songs that are then triggered by MIDI, making the music an interactive, evolving experience. The album’s gentle, filamented edges are colored by Munden-Dixon, whose poignant string melodies elevate Wieland’s introspective compositions, as well as cellist Helen Newby, saxophonists Julian Velasco and Jordan Lulloff, and bassist Pat Swoboda.

Wieland takes an economic approach to writing music, building the swirling and immersive landscapes of Vines through short melodies, lyrics, and phrases. As each element layers and interweaves, they grow into sprawling webs of ghostly sound. Prior to Vines, Wieland composed pieces for other people to play using a minimalist’s sensibility, writing slowly unfolding melodies for instruments like violin and saxophone. In recent years, she sharpened her solo style across a variety of singles and covers which have garnered significant attention on social media for their emotional resonance (“being loved isn't the same as being understood” in particular went massively viral on TikTok in 2024). Birthday Party, her debut as Vines, brought her writing to a much more intimate space, centering on her vocoded voice cloaked in feathery reverb. A series of recent singles, meanwhile, including “I am my home,” showcase the way that Wieland’s music is born from the story of her innermost feelings, extending far beyond just the self.

Though Wieland’s music often deals with dark themes, it unfolds with tender melancholy, the kind that feels like a warm embrace. On “Evicted,” Wieland wonders if she’s getting sick or moving on, if she’s lost or found. Her vocals expand with each lyrical repetition, as the instrumentals slowly encircle and the music’s rhythm grows and bursts into a heart-wrenching, yet radiant wave reminiscent of post-rock bands like Explosions in the Sky. “Tired” follows a similar trajectory, building from a looping, melancholy rhythm and floating lyrics into a solemn resignation. Elsewhere, Wieland takes a more ruminative approach: “Omw” begins with twinkling piano and melancholy strings that gradually transform into an undulating mass. It is a song born out of the warm feeling of reminiscence, the slight return of hope that comes with nostalgia.

With any searching journey, there is also a point of understanding. The title track closes the album with the freedom of acceptance. A marching drum beats steadily beneath Wieland’s open vocals, moving forward, ever onward as it flies into the ether. In Wieland’s delicately textured music, there is room to come into yourself, and learn to love whomever that is. I’ll be here is a special space that can be all your own, one in which to feel what needs to be felt. “This is music for your story,” Wieland said. “I want you to use it how you need it.”

After coming up in different bands in the Long Island and Brooklyn DIY scene in the late '00s and early 2010s, the indie rock outfit Freezing Cold came together in 2017 and settled into its current lineup in 2019. Featuring lead vocalist/guitarist Jeff Cunningham, formerly of Bridge And Tunnel, bassist/vocalist Leanne Butkovic, formerly of Never, and Angie Boylan, formerly of Aye Nako and drummer for Sleater-Kinney — Freezing Cold is coming into their own now more than ever as a dynamic trio.

After playing shows in support of Algernon Cadewalder, Radiator Hospital, and Screaming Females over the past year, the band is sharing their strongest, most fully formed work yet with the album Treasure Pool, due out August 1 on Don Giovanni Records. The 10-track record builds upon the group's extensive DIY experience, while finding an equilibrium where each member shines and moves beyond the early punk resonant in their past projects and toward something more mature.

The new release was recorded in 2023 at Asbury Park's Lakehouse Recording Studios, with production from Marissa Paternoster of Screaming Females and Eric Bennett. It follows the band's 2019 debut Glimmer, produced by J. Robbins (Against Me!, Jawbreaker) and released before Butkovic filled out the group, and 2021's Stuck on Hold/Drawn to Scale EP.

This new "Experimental Chapter" by DJ Narciso comes as no surprise, really. Autonomous in the motorization of his music, pushing for progress within the framework of an undeniable (inescapable?) heritage. Twisting and bending sound every step of the way, Narciso definitely keeps in touch with the dancefloor, offering the always much needed transcendence through distinctive, non-linear melodies and patterns. The artist pursues a direct link with bodies in motion but seldom in the expected, institutionalized way club culture is being largely promoted.

This is challenging dance music, proud statements of difference. Narciso's previous record was named "Diferenciado". Now we get "Dificuldades", a track that simultaneously carries the weight of being somewhat odd and the difficulties of life. Check how the piano is venting, freestyle, communicating a feeling, and then lets itself get stuck in a loop, but that's exactly when the groove really starts flowing. And then another layer. It's like direct speech.

A common assertion of pride is found in the origin of the artists. The ghetto as a place where any transformation projects more power precisely because of... inherent difficulties. As others (including himself) did in more or less obvious ways, Narciso clearly states "I come from the ghetto" ( "Não Sabes" ). Twice the value. At least. Almost every segment of music in this album ends up sounding heavily emotional, reaffirming what may be - perversely - a well-known characteristic of Portuguese music: melancholy.

"Não Quero" begins side B as a march maybe more significant than a thousand words, such is the ominous tone of its texture. Next track is another lunar tarraxo, pulling down the shades. Then, "Dor de Barriga" lets things loose again, steering clearly off road, shouting this way and that until a peaceful resolution comes. In "Livra-me Desta", vocal snippets blend into synth snippets, disembodied voices abandon all traces of humanity and finally mutate into different entities that, towards the end, again sound vaguely human but now we find ourselves doubting. Closer "Bob" is a rather classic percussion track with plenty of echo, reverb and an unconscious nod to dodecaphonic music. Unlikely? No, the structural ADN of this music is made up of elements western and eastern, southern and northern. To say all-over-the-place is usually not flattering but in this case the expression translates as wonder, surprise, The Unexpected, and reveals Narciso perfectly at ease inside the nucleus of creation.

An elusive and quiet figure amidst the Portuguese electronic scene, Timóteo Azevedo aka Random Gods releases his debut album on Discrepant's sub label Souk after his killer appearance in the long sold out 'Antologia de Música Atípica Portuguesa Vol. 2' compilation back in 2019.
With two previous EPs on Danse Noire and ZABRA, Random Gods' futurist visions project themselves through a scavenger-like body music assembled from the hopes and debris of these uncertain and dread-inducing times. Rituals conjured from metal shards, blunted kickdrums, submerged basslines, reverberating textures, cut up vocals and lazer guided melodies.

The orchestral runs of opener 'Abertura' as a glimmer of nervous light into the deep end bass weight meditations on syncopated kicks and grimey synth stabs of 'Somatiga'. Slow burner 'Pneuma' conjures neon synth lines into its halfstep flow, while 'Acervo' complicates the rhythm further with its profusion of crumbling kickdrums, tossed off claps and tonal percussion. 'Prumoo' dwells deeper into post-industrial ardkore nuum with its merciless drum patterns and molten basslines and 'Alvoro' feels like footwork taken into those same wastelands, with a nervous percussive backbone from some ancient future - take that as you will. Closer 'Ex.Tejo' brims with a certain sunrise melancholy among the storm as if there's still some hope after all.

Let's hold on to it.

After impressions of Unguja and Borneo islands, Discrepant's chieftain Gonçalo F. Cardoso continues his sonic travelogue on insularity with 'Impressões de Várias Ilhas’.

Literally translated as "impressions from various islands", this third tome dwells on recordings and inspirations from three archipelagos of Macaronésia. Soaking in the sounds and recollections from Azores, Cape Verde and Canary Islands these diaristic endeavours spread throughout a number of real environments, from water caves and black stone beaches and lagoons to small harbours and everyday life scenarios, to project them into this not quite imaginary but not quite real memory haze that goes from a deeply personal impression to a resonating one.

Melding raw field recordings with processed ones and synthesized landscapes, Cardoso never falters into sonic tourism, conjuring small-ish takes both vivid and dreamy, infused with a sense of wonder that feels both bewildering, comforting and escapist. The breaking waves of 'Bufadeiros de São Vicente' soothing in their irregular pattern, mingling with the lone echoing tones not completely removed from Black Dice's 'Beaches & Canyon's most pensive passages, flow into the underwater ambience and suspended pads of 'La Cueva Scuba Livre', as reflections of the same sea crashing in on different lands, nature’s psychogeography. Further on, the queasy warm chord and scraping murmurs of 'Noite em Rabo de Peixe' mirror their nighttime framing while 'Rãs em Xoxo' veers closer to pure musique concréte, crossed by a subdued feeling of unease that lingers in the nostalgia of 'Cozido da Caldeira Velha', brimming within the haze of a Boards of Canada vignette. Summoning the past lives and future hauntings of its scenery, 'Salinas de Pedra Lume' is like the quiet epic of the album, meandering into the unknown among crackling field recordings, decaying synths and flute-like howls - or is it howl-like flutes? - recurring as glimpses from foregone existences, not necessarily Gonçalo’s own. Maybe ours?

Music & Photography by Gonçalo F. Cardoso
Artwork layout by Jeroen Wille
Master by Rashad Becker

Discrepant 2025
Pressed in Spain

When you’re immersed into something you never actually realize if the essence will project as bright as the efforts, as deep as the process and as loud as the intentions. WOW, the Roma Est duo of China and Leo Non, have never had to create magic or delve into mystique along their meandering path, it’s just been a long solemn wait for what life throws at them and actually sticks. Cause and reaction, because the essence is quietly there when the clamour fades away. Their new album ‘Rosa di Luce’ is as pure as they come, a crystalline documentation of a new family, new meanings and new languages where the only rule is to gently adapt and just let things flow.

Welcoming Mina Wow, a tiny creature, into the fold was never going to be easy for a life lead on the road and for a band as radical as WOW where nothing is sugar-coated or constructed behind the scene, a different approach was desperately wanted, needed and searched. Almost total disarm, doing the small things, undress, get rid of the unnecessary feedback. That’s why ‘Rosa di Luce’ more than ever showcases WOW’s other-worldy spectral capability of creating songs that contain immense and minimal emotions, raw but welcoming, sincere but cutting and could play out to be a career defining album. Loosely recorded between their house in Rome and a campsite in Southern Puglia (where WOW organizes their yearly Shawala Festival) these songs are masqued my a minimalist entendre that leaves space for China’s stellar vocal delivery, a haunted range with frequencies to tickle a soul and pierce hearts, with Leo’s resolute guitar playing leading a timeless revolution.

The center-piece ‘Le Montagne E Noi’ is a perfect example of their stripped-back nakedness hiding complex arrangements (the beautiful sax played by Ryan Spring Dooley and celestial flutes by Alessandra Lazzarini) that sound effortless and imperative. Spiritual orchestrations that match our times and most importantly their new family and definition of space. Peaks that can always be reached, forests that need crossing (La Radura) in order to find a sound. There is no pretension or conceit to WOW’s style, it is entrancingly vibrant yet melancholy, taking notes from the most visceral strand of Italian traditional music, yet, still, walking down a trail that is very much their own. A planet where Branko Mataja and Alice Coltrane are backed by Emahoy Tsege Mariam Gebru and Mina on a perennial quest for the ethereal. Music to remember the essence, this is what we are, like the ocean. “

“My hero’s back,” Madeline Kenney sings on the second track of her newest effort, Kiss from the Balcony. In a sense, she means herself; made with friends Ben Sloan and Stephen Patota across just a few in-person studio sessions in Oakland, these tracks represent a culmination of Madeline’s musings on growth and resilience reaching back years, brought to life through this generative and vibrant collaboration. Close listeners can hear the breadth of stylistic elements and themes carried through from various eras of her work, which all come together in a cohesive and timeless record.

In two week-long intensive sessions, the three collaborators grew these nine songs from fragments, sketches, and seeds. With a background in experimental percussion and sound design, Ben Sloan brings an electronic sound to Kenney’s writing; Stephen Patota provides ingenious guitar melodies throughout and grounds the project in acoustic elements. Kiss from the Balcony was originally intended to be an EP, but the sessions brought forth such fruitful ideation and play that the project was expanded to a full length album. It sits in Madeline’s discography as a thematic and musical progression that sees her iterate on ideas about love and explore new sonic motifs through her work with Patota and Sloan.

Much of Kiss from the Balcony is a meditation on modern relationships, a feminist and utterly human contemplation of power and who holds it. “Hereditary backward leaning,” she describes in ‘Slap,’ of the female condition; “But no-one ever likes to see the girls break down / So they keep it to the bathroom floor” she sings in the rapturous opener, ‘Scoop.’ While the songs are shrouded in metaphor, the ubiquity of heartbreak and resilience decode much of the internal conflict Kenney depicts. The album sees her recognize the precarity and peculiarity of life and take it by the horns, realizing she controls her own narrative:


She explores the relationships between joy and suffering, choosing to see them as inseparable, two sides of a single coin. “It’s never over / When will they love me?” Kenney asks on ‘They Go Wide,’ describing her positionality both as a woman in relationship and as an indie artist in the modern music industry.

A playful hopefulness pervades the record, providing a sense of revelation in the journey throughout, Kenney’s radical acceptance of life as it is like a lyrical tongue out at the absurd.

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Though they may not have intended to do so, Naptown's trinity, also known as 81355 (pronounced BLESS), rang out as revolutionaries with their 2021 debut record This Time I'll be of Use. When Oreo Jones, Sirius Blvck, and Sedcairn come together, genre evaporates into enthralling poeticism and sonic hypnosis. Their sophomore LP Bad Dogs, releasing July 11th on Joyful Noise Recordings, acts as an expansive continuation of 81355's signature sound: an angelic, gritty, enthralling urban hymnal for the disillusioned mind. The history of 81355 stretches far back into the history of Naptown's creative scene. Jones and Blvck struck a match as one of Indy's most influential hip-hop collectives, Ghost Gun Summer, before they brought on Sedcairn (Moose Adamson) in 2020. Before Adamson infused 81355 with his melodic soundscapes, he produced Grampall Jookabox, an underground indie meets jangle pop project. Though they may be known primarily for their musical notoriety, the members of 81355 are steadfast in their commitment to uplifting their community with collective creative expansion. Sean (Oreo Jones), alongside his partner Jane Sun Kim, produces and curates Chreece, the largest Midwestern Hip-Hop festival hosted in the heart of Naptown. Niq (Sirius Blvck) is pivotal in the empowerment and advancement of Indy Hunger Network, a local non profit that addresses food insecurity across Indianapolis. Moose (Sedcairn) is a key contributor to Joyful Noise, an Indy based independent label cutting records for artists of all genres. For the first time, the project's live band is part of the production, with Sharlene Birdsong on bass guitar, Dimitri Morris on guitar, and Pat Okerson on drums. The Bad Dogs listening experience also seeps into visual realms: a short film titled Sleep Study will be released in tandem. Sleep Study_soundtracked, written, and produced by 81355, who also star in the film alongside friends and fellow artists from the community_features afrofuturistic sci-fi undertones that explore the toxifying implications of algorithmic control, postmodern brain rot, and late-stage capitalism. As the texturally emotive punctum of its cover art (painted by Stockholm based artist Julia de Ruvo) conveys, the heart of Bad Dogs draws its perseverance from the wild reservation dogs pulsing through the rust-hued indigenous lands of New Mexico and beyond. They are untethered in their roaming, sacred in their fierce communal belonging, yet undefined by a physical place. A vital essence mirrored by 81355: boundaryless, primal creative cultivation that defies what some may attempt to categorize as hip hop or progressive rap.

The debut album from Addy Weitzman, ‘Light Months Will Fly Over Us’ explores new-wave, romantic pop and art rock with elegance and ambition, drawing from Weitzman’s scattered network of collaborators, as well as a “frighteningly vast” personal archive of compositions. Sequenced by Seth Troxler and released on his Slacker 85 label, it represents a pivot in musical direction for the imprint, and a showcase for the songwriting craft Weitzman honed as a member of cult electro duo Footprintz, and Montreal synth-pop projects The Beat Escape and Dawn to Dawn.

The title Light Months Will Fly Over Us is derived from a line in a poem by the Russian writer Anna Ahkmatova. Weitzman was immediately struck by its “hopefulness, its mystery… it gives the feeling of being suspended, hanging in a dream-like state”. This interpretation has been translated to the album, rich in memorable songwriting that nonetheless invites the listener to lean in further. Delicately mixed by engineer Pierre Guerineau, known for his work alongside Marie Davidson, each of the eight tracks gently interrogates life’s greater mysteries; fear, love and salvation, each defining and revealing the human soul.

Opener ‘End of The Line’ invites us into an immediately lush space of lounge lizard existentialism, soft brass and piano helping Weitzman introduce “where the journey begins and the fantasy dies”. Across orchestral arrangements arranged by Adam Wilcox, whose sensitive, ambitious compositions are weaved throughout the album, ‘Beyond The Speed of Life’ brings to mind the laments of Scott Walker. Navigating vulnerability via grandeur, Weitzman’s earnest vocals flourish in wide-eyed call-and-response with the object of a transcendent love affair.

Alongside collaborator, Richard Lamb, the next chapter of the LP plunges into contrasting machine-driven moods; the wry, bubbling ‘Entertainment Is All I Wanted (And I Found It)’ is imbued with the playfulness and experimentation of 80s electronic pioneers such as Fad Gadget, while the tougher, icier ‘Stranger To Your Kind’ shifts in a more instrumental direction, recalling Weitzman’s dancefloor experience, as well as contemporaries such as Matthew Dear.

Album centerpiece and striking first single ‘Running & Returning’ is the first of a suite of three tracks in collaboration with Weitzman’s The Beat Escape and Dawn to Dawn bandmate, Patrick Boivin. Blending lush saxophones and angular guitars with a wistful melodic touch and lyrics, its irresistible art-rock rhythm provides the foundation for one of Weitzman’s most involving vocal performances.

It’s followed by an anthem for existential absurdity: ‘Ice Cream Candle’ provides a driving acceptance that “the more and more you learn, the less you understand”; Weitzman submits to this uncertainty with equal grace on ‘No Man’s Land’, as baroque invocations of “words swept through the fields” and meeting “where the water lilies grow” give way to a blistering guitar solo, humbly riding hypnotic percussion.

For the compassionate finale of Light Months Will Fly Over Us, Weitzman narrates the experience of ‘Gabrielle’, a woman slipping between rooms between shuttered blinds in the towering city, “where cigarettes and roses fill the air.”

As lyrically delicate as it is musically ambitious, Light Months Will Fly Over Us is a sublime debut album, enriched with care, love and much-needed enchantment.

Tracks include unearthed fragments of BLADDER FLASK, circa ’80s by Richard Rupenus, a founding member of THE NEW BLOCKADERS.

STEVEN STAPLETON, ANDREW LILES, RICHARD RUPENUS.





New studio album “Backside” on vinyl by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, also released on Cd in 2024 (there is also a DIY “lathe cut”).
Cover art by Babs Santini.


The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies.


Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steven Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.



“As the closest release style-wise to classic old NWW in decades, the album’s opening track ‘Backside’ could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It’s quite an intense listen, but totally enjoyable. ‘Chernobyl Picnic’ feels more like ‘Cooloorta’-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted ‘Soliloquy For Lilith.’ An excellent release, especially for jaded old NWW fans who want more in the style of ‘the good old days’ (Alan Freeman)”.

The Mekanik label, led by the tireless Manu Kenton, returns strongly with a new, strikingly effective EP: "Metronome." Available as a colored vinyl limited edition and in digital format, this project brings together four finely crafted techno productions for clubs and thrill-seekers.



Between explosive buildups, hypnotic grooves, and acidic textures, the "Metronome EP" delivers a concentrated dose of raw energy and sonic mastery. True to his identity, Manu Kenton once again demonstrates his ability to combine power, tension, and efficiency, always with a signature recognizable among thousands.



A key figure of the legendary Lagoa club in Menin, Manu Kenton continues his path here, chaining projects with a consistently strong artistic coherence.

On the visual side, this collector's vinyl stands out with its revamped "Yolk effect" in luminous green tones, adding an original and modern touch to this new chapter of the Mekanik label.



Français



Le label Mekanik, piloté par l’infatigable Manu Kenton, revient en force avec un nouvel EP redoutablement efficace : "Metronome". Disponible en vinyle coloré en édition limitée et en version digitale, ce projet rassemble quatre productions techno ciselées pour les clubs et les amateurs de sensations fortes.



Entre montées explosives, grooves hypnotiques et textures acides, "Metronome EP" offre un concentré d’énergie brute et de maîtrise sonore. Fidèle à son identité, Manu Kenton y affirme une fois de plus sa capacité à allier puissance, tension et efficacité, toujours avec une signature reconnaissable entre mille.

Facta and K-LONE’s Wisdom Teeth imprint returns to the V/A format with ‘Pattern Gardening’: a new collaborative project that leans head-first into the label’s love of minimal-, micro- and tech-house, carving out the label’s distinct, contemporary take on the sound - one that swims between warm, bleepy, rolling, dubby, psychedelic and bass-heavy channels across its duration. The vinyl sampler brings together 6 highlights from the wider 22 track digital project. Wisdom Teeth heads Facta and K-LONE appear alongside longtime label associate Lurka and new signees Polygonia, rRoxymore, Sub Basics and Jichael Mackson.

By now, Wisdom Teeth and its founders are well known for their unabashed love of minimal and tech house, which - alongside ambient, UK club music, experimental electronics and a broad palette of other influences - makes up a key cornerstone of their distinctive sound. The duo’s DJ sets often see them mixing ‘00s gems from labels like Perlon, Mosaic, Minibar and a:rpia:r with more contemporary club sounds, creating a hybrid style that sits somewhere between Balearic terraces and dark UK club basements. Likewise, the label has become known as a go-to outlet for artists occupying a similar crossover space, with names like Jorg Kuning, Parris, Steevio, Duckett, Leif and LUXE all known for pushing house and techno into experimental and refreshing new territories.

‘Pattern Gardening’ follows loosely on from the label’s previous V/A releases ‘To Illustrate’ (2021) and ‘Club Moss’ (2023), which explored downtempo (100bpm) and uptempo (150-170bpm) styles respectively. Here, the focus is fixed on lush, groovy, quirky 4x4 jams, joining the dots between a global spread of producers that bring new energy and perspective to these well-explored frameworks.

As is always the case with Wisdom Teeth’s output, the results fit somewhere between the club and a more contemplative, home-listening headspace, with texture, melody and mood afforded as much significance as rhythm and functionality.

The artwork features photography by Hong Kong-based photographer Jimi Chiu, who captures seemingly ordinary corners of city life in glossy, cinematic detail.

After offering the label a beautiful closing composition on its various artists compilation Reflection EP, Rotterdam live act, producer, and DJ Mata Disk returns to Polychrome Audio with LFH-Proxy EP. Featuring two original club tracks and their interpretations by producers Eversines and Jopie, this project further cements Julian Determann’s singular musical identity while opening it up to new dimensions and patterns.

A1. Life Force Harmonizer (“LFH”) opens the dance by capturing the sweet nostalgia experienced during club morning hours. Mata Disk’s sound palette is here in full display, the energy carried by sharp drum design and a propulsive bassline is lifted by melodious pads offering the track its tenderness. On the B1, Rotterdam producer Jopie creatively re-imagined these feelings, stripping down and reshaping LFH onto a track flirting with breaks and IDM progressions.

With Proxy, Mata Disk dims the light slightly, with a drum workout track to keep the dance alive. The very progressive and low-end focused build-up paired with a tension-building synthesized lead offers the A2 track a smooth build-up. De Lichting member Eversines elegantly switches the sound narrative, transforming Proxy into a dark electro-leaning tech house track carrying the same tension. Adding emotion into the mix with an anthemic melodic lead, Eversines’ Proxy Ziggo Mix serves as a perfect closer.

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

Black Truffle is pleased to announce a new edition of Kassel Jaeger’s Fernweh, returning François J. Bonnet’s electroacoustic project to the label five years after the acclaimed Meith (BT069). Originally released on Giuseppe Ielasi and Jennifer Veillerobe’s impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet’s approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O’Malley and Jim O’Rourke.

A major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concrète materials into a drifting assemblage. Its title’s meaning is close to the concept of ‘Wanderlust’, fitting for this music that moves freely and unexpectedly between what Bonnet calls ‘climates’. Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Textures call up wind, water, insects, the crunch of feet on sand or the clinking of glasses, yet they can never be identified with any certainty. At times these concrete elements possess a vivid ‘closeness’; at others, the sounds shade into a formless distance. Though the listener forms no clear picture from the concrete sounds, these elements aerate the music, lending it their space.

Drawing from the rigorous formal language and conceptual apparatus of the French musique concrète tradition—with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar—the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. Subtle features of dynamics and rhythm act as connective tissue between the numerous ‘scenes’, with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. Like his friend and collaborator Jim O’Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.

Highlighting a decade of working together as ‘Fronte Violeta’, Brazilian transdisciplinary artist Anelena Toku and musician and sound artist Carla Boregas are set to release the album ‘Fronte Violeta’, a captivating blend of aural compositions, scents and experiences.
Switching the moniker name to the album title serves as a way to showcase the culmination of their multidisciplinary project’s journey, developed from compiling fragments, sounds and intentions from their previous body of work comprising electroacoustic and electronic music composition, moving image, scent, installation and live performances.

‘Fronte Violeta’ is a sonic amalgam where synthesized sounds, percussion, voice, feathers, branches and other non-human sonorities coalesce. Toku and Boregas have skillfully woven together those elements creating a rich tapestry of interconnected sounds that tension our perception as something always in motion, never fully settling into an established form.

First Word Records are incredibly proud to bring you ‘I Swear To You’; the stunning sophomore album from Georgie Sweet.

Georgie is a singer / songwriter currently based in Brighton, with a uniquely smooth, soulful vocal tone.

Whilst working on her debut record (‘Misunderstood’), Georgie began a songwriting partnership with multi-instrumentalist Marc Rapson, who is on the boards throughout this project. The duo discovered a natural musical connection instantly, and began working on an abundance of beautiful new material shortly after the release of the first album; writing and creating at Rapson’s home in Hertfordshire at various sessions from 2021 onwards, culminating in this new 12-track album, ‘I Swear To You’.

Despite being one of the UK’s best kept secrets, Georgie’s already been pricking the ears of some highly-respected selectors. The first single from this record (‘Smaller / All That We Were’) received love from tastemakers such as BBC 6 Music's Gilles Peterson (“this one melts”), Jazz FM's Tony Minvielle ("supremely talented”) and Clash Magazine (“exudes soulful grace”), whilst previous material found itself in the crates of legendary luminaries like DJ Jazzy Jeff & DJ Spinna amongst others.

At the end of 2024, Georgie signed to Worldwide Award-winning independent London-based label, First Word Records; although she previously featured before on the label, via the title track of the highly-acclaimed 2021 sophomore album by Children of Zeus, 'Balance', along with Akemi Fox. Prior to this her debut album 'Misunderstood' dropped back in 2020 on Futuristica Music; an independent imprint run by Deborah Jordan & Simon S, on which Georgie also collaborated with acclaimed producers like K15 and Mecca:83.

An all-round creative soul, away from creating music, Georgie also works as an illustrator and animator. However, her lifelong love of music is unquestionable. She’s been a vocalist from a young age, initially working with her musical parents (a producer and professional singer respectively).

With a hugely diverse set of inspirations ranging from Stevie Wonder to Michael McDonald, Hiatus Kaiyote to Chappell Roan, Mac Miller to Sampha, and George Duke to EW&F, Georgie's respect, love and admiration for a wide range of music is clear; from jazz to soul to pop to hip hop.

All Men Unto Me is a project led by Rylan Gleave, composer and vocalist (most notably in Ashenspire and various Paraorchestra projects). Today, All Men Unto Me announces their second album Requiem, an album which re-imagines an ancient mourning in a real, contemporary setting. Taking the broad emotional arcs of the Missa pro Defunctis, these structures pave way for new songs, ruminating on patriarchal power systems and the conditions of transmasculinity within these, through the haze of Queer reverence and forgiveness. In Rylan's words, the Missa pro Defunctis "translates to ‘Mass for the dead’, and refers to the Catholic text taken from the Roman Missal. When set to music, it is called a ‘Requiem’. Requiem masses are usually performed at funerals. I’ve sung in a few Requiems — Mozart, Fauré, Duruflé — when I’ve been in choirs, and felt those dramatic arcs of the structure in my own voice. Writing a Requiem felt like processing my own complex feelings about the Church, patriarchal power within it (and more broadly), and the death of a part of me in a framework that allowed for mourning. The contours of sorrow, light, forgiveness, and reverence made space for these songs to speak to my own identity as a survivor, and use that structure in a way that let me direct an ancient narrative myself." Marrying traditional Anglican soundworlds of electro-pneumatic church organ and stacked choral vocals with heavier sounds, closer to experimental/noise rock and doom metal, Requiem sits at times near Swans, Kayo Dot, Lingua Ignota, Greet Death, and Scott Walker.







[e] SEQUENTIA [video]

Following his 2019 debut on the label with Amphibious / Lucid Dreams, Bristol-based producer Drone returns to System Music for another exploration into the darker corners of sonic frequencies and low end pressure.

Entitled Flooded EP, this is Drone’s biggest project to date and features 4 original, epic tracks accompanied by an incredible remix from SP:MC. The EP kicks off with 20k, an introduction laden with off-kilter, haunting eeriness and pulsating bass and percussion. Next up is Entropy, a truly ethereal track. Spatially beautiful yet isolating and cold. The title track, Flooded, is a monster of a track which intimidates and excites with eyes down and gun fingers raised. Rounding off the body of work is Fear which hits hard with crisp drum patterns and a throbbing bassline, almost evoking a sense of nostalgia, tying it in seamlessly with a typically electrifying remix from SP:MC

Sweden’s Tiger Stripes returns to Rekids with the ‘Dance For Peace’ EP, following on from February’s ‘All Night Long’ and 2024’s ‘I Heard It Through The Bassline’ EPs. Across four warm and funk-fuelled cuts, he delivers another essential selection of House grooves primed for peak-time moments and deep, late-night sessions alike, already supported by Oliver Dollar, Riva Starr, Anja Schneider, and more.

The opening track, ‘Time For Peace,’ is a brilliantly loopy roller, featuring bouncy drums, muted synth motifs, and a vocal swirl of soulful cries that ramp up the energy. It’s a stylish tension-builder, paving the way for ‘Rockin’, a chunky jam with funky melodic riffs buried in the beat and wordless ad libs teasing out the soul. ‘The Street’ keeps the vibe flowing with swinging drums, knotted guitar licks, and subtly filtered vocals worked into a steamy, party-starting groove. Closing things out is ‘A Dance’, a deeper cut drenched in lush chords and hazy vocals—perfect for blissed-out dancefloor moments.

Founder of the Strange Idols label, Tiger Stripes has spent over two decades forging his own path with standout releases on Hot Creations, Get Physical, Kwench Records, and Rekids. After stepping back to focus on his indie-rock project Little Lies, he made a full return in 2024 and quickly recaptured the form that’s made him an international favourite.

Betino’s Records is taking pride in releasing Lucas Moinet Trio debut album. Entitled "Time Travel", it takes us on a deep journey into Jazz Fusion, Funk, Boogie, and 70's inspired vocoder love songs. Lucas Moinet invited his music friends to be a part of the project : Camille Frillex, on bass and Lulu Jems on drums plus a few guests like Illa on vocals, Donald Devienne on trumpet, Lucas Piette on saxophone and Stupid Flash for some additional production. Being a multitalented musician, he composed, arranged the music and recorded the Fender Rhodes piano, guitars, Korg MS20, string machine & vocoder parts in the studio. Through the vocoder, he turned Jazz Fusion into love songs, from the funky "Close to You" to the organic "Crescendolls Are Missing", paying tribute to the Rhodes and vocoder masters from the 70's. Herbie Hancock, Patrice Rushen and Alain Mion to name a few…
The album explores a lot of different styles with the downtempo bossa nova track "Soupir de Caracole" or the deep and atmospheric "New Morning".
Everything was composed, recorded, arranged and mixed at Lucas Moinet's Studio 937 in Paris. The production and recording process took a long time and after many years, the band is really proud to introduce "Time Travel".

Glasgow-based Effective Dreaming—the solo project of Scottish artist and musician Iain Ross—unveils Dream Catalogue Vol. 1, arriving June 21st, 2025 (Summer Solstice) via Swedish experimental label Fluere Tapes.

Issued as a limited run of 50 cassettes, each adorned with hand-worked, corroded copper sheet inserts and labels, Dream Catalogue Vol. 1 feels less like a release and more like an unearthed artefact: weathered, humming, quietly alive. The materials echo the music’s exploration of fragile impermanence and erosion: oxidised metal, magnetic tape, hiss, hum. A tactile world where sound wears its decay like a patina.

Across its length, the album unfolds in a series of flickering vignettes—drifting, dissolving, reappearing. Shaped by synths, environmental recordings, tape loops, and soft drones, the pieces move like glints of light on water—never fixed, always in motion. Achingly beautiful melodies rise and vanish, tracing fragile pathways through a landscape of shifting sensations. Some moments glow with a gentle warmth, like sunlit glass or breath on a fogged mirror. Others slip into shadow: slow, submerged passages feel closer to memory than music. The album feels loose and weightless, yet dense with feeling—a presence more sensed than held.

There is no fixed narrative here—only fragments and artefacts, half-remembered places, echoes of dreams. Each track hovers just at the edge of clarity, evoking not specific stories, but moods, textures, and the quiet drift of time. It’s music that feels both intimate and remote, like overhearing a distant signal only you can understand.

The name Effective Dreaming is drawn from Ursula K. Le Guin’s The Lathe of Heaven, where a dreamer's visions alter the very fabric of reality—past and present reshaped, histories rewritten, unnoticed by all but the dreamer himself. In a similar spirit, Ross’s music inhabits a space where memory, perception, and matter blur—where each sound carries the residue of something once real, now transformed and dissolving as one drifts through the seams of the world.

Dream Catalogue Vol. 1 is a meditation on texture, transience, and the quiet resonance of what slips away.

For listeners of: Wave Temples, Dolphins Into the Future, Guenther Schlienz"

Black Truffle is thrilled to announce Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear this year. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (Black Truffle, 2022). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie’s long-time musical hero and occasional collaborator Roscoe Mitchell.

The two short pieces that open the record could almost be the two sides of a wild 7” selected to show off what the Ensemble can do. On opener ‘Gerak Maju’, intricately skittering open-snare patterns bounce over clanging metal, chiming bell-like tones and deep gong hits, adapting the rhythm-register connections heard in traditional Gamelan musics—where the lowest pitched sounds are heard least frequently—to a cut-up breakbeat straight off Feed Me Weird Things. ‘Strollabout’ then moves into an entirely different realm of meditative repeating patterns, performed entirely on Chinese, Javanese and Vietnamese gongs. The remaining seven pieces, ranging from three to twelve minutes, offer up a wealth of different percussive, compositional and arrangement possibilities. On ‘Ghostly Klang’, two drumkits mirror each other’s moves, bouncing hats and snares across the stereo field in a way that recalls On the Corner and the jittering hi hat patterns of trap, while slow moving melodies on the tuned instruments add a sense of majesty contrasted by scurrying details in resonant wood. The epic closing track presents a take on Roscoe Mitchell’s ‘Uncle’, performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell’s dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal.

Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois’ drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.

Guilherme Granado & Bruno Abdala Unite in FILHOS, a long-awaited collaboration between the two Brazilian musicians.

After years of friendship and sporadic live collaborations, Granado (São Paulo) and Abdala (Goiânia) have finally brought their creative synergy into a full-fledged project. Despite the geographical distance, a collaboration was inevitable — and now, it has become a reality.

The creative process moved swiftly once the exchange of ideas and files began. While the exact timeline is a blur, the inspiration remains clear: life itself. Musical influences are ever-evolving, shaped by experiences and time, but the essence of this project remains rooted in a deep connection to existence.

The sonic landscape is built from an eclectic palette: samplers, bells, synthesizers, drums, marimba, vibraphone, bass, violas, and more to create an elegant tapestry of sound that pays homage to the past while forging new paths forward.

At its core, this project is a tribute to tradition and lineage, hence Filhos (Sons). We are all products of what came before us, and through music, we strive to honor that legacy—carrying it forward into the future.

Mustang Island, the third album from Austin-based band Little Mazarn, is a gentle force. Waves of grief crest like surf on the Texas coast. Wild horses break through long-shuttered gates, only to come back around. Lead songwriter, vocalist, and multi-instrumentalist Lindsey Verrill (she/her) joins bandmates jeff Johnston (he/him) and Carolina Chauffe (they/thern), The tensong, collection continues work with Dear Life Records. A full-throated romp through the capabilities of community-minded songcraft, Mustang Island is both naturalistic and futuristic, completely recasting Little Mazarn's origins in primitive folk. Instead, the band reaches towards sonic experimentation and spacious expansion. Lindsey's heart-opening vocals and jeff's singing saw, both trademarks of the project, mix with unexpected bombastic drums, dissonant synthesizers, and a chorus of orchestral oddities. This mid-career ode dances confidently in the creative liberties granted by decades in the game - more dazzlingly lively, and honestly somber, than ever before. The band's crossroads branch across prominent Southern outsider music: On cello, Lindsey has recorded with Patty Griffin and Dana Falconberry. The longtime side player wouldn't write her first song until age 34, Jeff has played in Bill Callahan's band, as well as with LIl Capin Travis and Orange Mothers. Carolina is known for prolific solo project hemlock, Little Mazarn has also collaborated with Lomelda to release their last EP, Honey Island General store (2023), following past LPs Texas River Song (2022) and lo (2019). Alongside silliness and reverence, including covers from Kate Wolf and Bob Wills * His Texas Playboys, griet directs much of Mustang Island. Lindsey left her job of seventeen years teaching cello at a local school, Recording also aligned with the passing of Jeff's facher, a career educator in Jeff and Lindsey's hometown of Dallas. "Grief, and the avoidance of grief, is a big part of being human," says Lindsey. "You make a choice, and then you grieve for the other choice. Or you finish a meal and literally grieve that it was so good. If you really befriend griet, you re like, 'Oh, it's here, in this pancake, which I loved so much that I ate the whole thing, and now it's gone.**